Richard Lovelace.

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Produced by Gary R. Young.



Richard Lovelace


This Little Volume




Dedication 3
Verses addressed to the Author 5

I. Poems Addressed or Relating To Lucasta.

Song. To Lucasta. Going beyond the Seas 25
Song. To Lucasta. Going to the Warres 26
A Paradox 27
Song. To Amarantha, that she would Dishevell her Haire 29
Sonnet 31
Ode. To Lucasta. The Rose 31
Love Conquer'd. A Song 33
A Loose Saraband 34
Orpheus to Woods 37
Orpheus to Beasts 37
Dialogue. Lucasta, Alexis 39
Sonnet 41
Lucasta Weeping. Song 42
To Lucasta, from Prison. An Epode 43
Lucasta's Fanne, with a Looking-glasse in it 46
Lucasta, taking the Waters at Tunbridge 48
To Lucasta. Ode Lyrick 50
Lucasta paying her Obsequies to the Chast Memory of my
Dearest Cosin Mrs. Bowes Barne[s] 51
Upon the Curtaine of Lucasta's Picture, it was thus Wrought 53
Lucasta's World. Epode 53
The Apostacy of One, and but One Lady 54
Amyntor from beyond the Sea to Alexis. A Dialogue 56
Calling Lucasta from her Retirement 58
Amarantha, a Pastoral 60

II. Poems Addressed to Ellinda.

To Ellinda, that lately I have not written 74
Ellinda's Glove 75
Being Treated. To Ellinda 76
To Ellinda, upon his late Recovery. A Paradox 79

III. Miscellaneous Poems

To Chloe, courting her for his Friend 81
Gratiana Dauncing and Singing 82
Amyntor's Grove 84
The Scrutinie 89
Princesse Loysa Drawing 90
A Forsaken Lady to her False Servant 92
The Grassehopper. To My Noble Friend,
Mr. Charles Cotton [the elder] 94
An Elegie on the Death of Mrs. Cassandra Cotton 97
The Vintage to the Dungeon. A Song 99
On the Death of Mrs. Elizabeth Filmer. An Elegiacall Epitaph 100
To My Worthy Friend Mr. Peter Lilly 102
The Lady A[nne] L[ovelace]. My Asylum in a Great Extremity 104
A Lady with a Falcon on her Fist. To the Honourable
my Cousin A[nne] L[oveace] 108
A Prologue to the Scholars 110
The Epilogue 111
Against the Love of Great Ones 113
To Althea, from Prison 117
Sonnet. To Generall Goring, after the Pacification at Berwicke 120
Sir Thomas Wortley's Sonnet 122
The Answer 123
A Guiltlesse Lady Imprisoned; after Penanced 124
To His Deare Brother Colonel F[rancis] L[ovelace] 125
To a Lady that desired me I would beare my part with her
in a Song 126
Valiant Love 131
La Bella Bona Roba. To My Lady H. 133
Sonnet. "I Cannot Tell," &c. 134
A la Bourbon 135
The Faire Begger 136
A Dialogue betwixt Cordanus and Amoret 138

IV. Commendatory and Other Verses, prefixed to
Various Publications between 1638 and 1647.

An Elegie. Princesse Katherine Borne, Christened, Buried
in one Day (1638) 140
Clitophon and Lucippe translated. To the Ladies (1638) 143
To My Truely Valiant, Learned Friend; who in his Booke
resolv'd the Art Gladiatory into the Mathematicks (1638) 146
To Fletcher Reviv'd (1647) 148


I. Poems Addressed or Relating to Lucasta.

Dedication 155
To Lucasta. Her Reserved Looks 157
Lucasta Laughing 157
Night. To Lucasta 158
Love Inthron'd 159
Her Muffe 160
A Black Patch on Lucasta's Face 162
Another 163
To Lucasta 165
To Lucasta 165
Lucasta at the Bath 166
The Ant 168

II. Miscellaneous Poems.

Song. Strive not, &c. 170
In Allusion to the French Song: "N'entendez vous pas
ce Language" 171
Courante Monsieur 173
A Loose Saraband 174
The Falcon 176
Love made in the First Age. To Chloris 180
To a Lady with Child that ask'd an Old Shirt 183
Song. In mine own Monument I lye, &c. 184
Another. I did believe, &c. 184
Ode. You are deceiv'd, &c. 185
The Duell 187
Cupid far gone 188
A Mock Song 190
A Fly caught in a Cobweb 191
A Fly about a Glasse of Burnt Claret 193
Female Glory 196
A Dialogue. Lute and Voice 197
A Mock Charon. Dialogue 198
The Toad and Spyder. A Duell 199
The Snayl 207
Another 209
The Triumphs of Philamore and Amoret 211
Advice to my best Brother, Coll: Francis Lovelace 218
Paris's Second Judgement 221
Peinture. A Panegyrick to the best Picture of Friendship,
Mr. Pet. Lilly 222
An Anniversary on the Hymeneals of my Noble Kinsman,
Thomas Stanley, Esq. 227
On Sanazar's being honoured with 600 Duckets by the
Clarissimi of Venice 229

III. Commendatory Verses, prefixed to Various
Publications between 1652 and 1657.

To My Dear Friend, Mr. E[ldred] R[evett] on his Poems moral
and divine 241
On the Best, Last, and only Remaining Comedy of Mr. Fletcher,
"The Wild-Goose Chase" (1652) 245
To My Noble Kinsman Thomas Stanley, Esq.; on his Lyrick Poems
composed by Mr. John Gamble (1656) 247
To Dr. F. B[eale]; on his Book of Chesse (1656) 249
To the Genius of Mr. John Hall (1657) 250

Translations 253

Elegies on the Death of the Author 279


There is scarcely an UN-DRAMATIC writer of the Seventeenth Century,
whose poems exhibit so many and such gross corruptions as those
of the author of LUCASTA. In the present edition, which is the
first attempt to present the productions of a celebrated and
elegant poet to the admirers of this class of literature in a
readable shape, both the text and the pointing have been amended
throughout, the original reading being always given in the footnotes;
but some passages still remain, which I have not succeeded
in elucidating to my satisfaction, and one or two which have defied
all my attempts at emendation, though, as they stand, they are
unquestionably nonsense. It is proper to mention that several
rather bold corrections have been hazarded in the course of the
volume; but where this has been done, the deviation from the
original has invariably been pointed out in the notes.

On the title-page of the copy of LUCASTA, 1649, preserved among
the King's Pamphlets in the British Museum, the original possessor
has, according to his usual practice, marked the date of purchase,
viz., June 21; perhaps, and indeed probably, that was also
the date of publication. A copy of LUCASTA, 1649, occasionally
appears in catalogues, purporting to have belonged to Anne,
Lady Lovelace; but the autograph which it contains was taken
from a copy of Massinger's BONDMAN (edit. 1638, 4to.), which her
Ladyship once owned. This copy of Lovelace's LUCASTA is bound up
with the copy of the POSTHUME POEMS, once in the possession
of Benjamin Rudyerd, Esq., grandson and heir of the distinguished
Sir Benjamin Rudyerd, as appears also from his autograph
on the title.

In the original edition of the two parts of LUCASTA, 1649-59,
the arrangement of the poems appears, like that of the text,
to have been left to chance, and the result has been a total
absence of method. I have therefore felt it part of my duty to
systematise the contents of the volume, and, so far as it lay in my
power, to place the various pieces of which it consisted in their
proper order; all the odes, sonnets, &c. addressed or referring to
the lady who is concealed under the names of LUCASTA and AMARANTHA
have now been, for the first time, brought together; and the copies
of commendatory and gratulatory verses, with one exception prefixed
by Lovelace to various publications by friends during his life-time,
either prior to the appearance of the first part of his own
poems in 1649, or between that date and the issue of his Remains
ten years later, have been placed by themselves, as an act of
justice to the writer, of whose style and genius they are, as is
generally the case with all compositions of the kind, by no means
favourable specimens. The translations from Catullus, Ausonius,
&c. have been left as they stood; they are, for the most part,
destitute of merit; but as they were inserted by the Poet's
brother, when he edited the posthumous volume, I did not think it
right to disturb them, and they have been retained in their full

Lovelace's LUCASTA was included by the late S. W. Singer, Esq.,
in his series of "Early English Poets;" but that gentleman,
besides striking out certain passages, which he, somewhat
unaccountably and inconsistently, regarded as indelicate,
omitted a good deal of preliminary matter in the form of
commendatory verses which, though possibly of small worth,
were necessary to render the book complete; it is possible,
that Mr. Singer made use of a copy of LUCASTA which was deficient
at the commencement. It may not be generally known that,
independently of its imperfections in other respects,
Mr. Singer's reprint abounds with the grossest blunders.

The old orthography has been preserved intact in this edition;
but with respect to the employment of capitals, the entirely
arbitrary manner in which they are introduced into the book as
originally published, has made it necessary to reduce them, as well
as the singularly capricious punctuation, to modern rules. At the
same time, in those cases where capitals seemed more characteristic
or appropriate, they have been retained.

It is a singular circumstance, that Mr. Singer (in common with
Wood, Bliss, Ellis, Headley, and all other biographers,) overlooked
the misprint of ARAMANTHA for AMARANTHA, which the old compositor
made, with one or two exceptions, wherever the word occurred. In
giving a correct representation of the original title-page, I have
been obliged to print ARAMANTHA.

In the hope of discovering the exact date of Lovelace's birth
and baptism, I communicated with the Rev. A. J. Pearman, incumbent
of Bethersden, near Ashford, and that gentleman obligingly examined
the registers for me, but no traces of Lovelace's name are to be

W. C. H.

Kensington, August 12, 1863.

Mr. B. R. was a somewhat diligent collector of books,
both English and foreign. On the fly-leaves of his copy
of Rosse's MYSTAGOGUS POETICUS, 1648, 8vo., he has written
the names of a variety of works, of which he was at the time
seemingly in recent possession.


With the exception of Sir Egerton Brydges, who contributed to the
GENTLEMAN'S MAGAZINE for 1791-2 a series of articles on the life
and writings of the subject of the present memoir, all the
biographers of Richard Lovelace have contented themselves with
following the account left by Anthony Wood of his short and unhappy
career. I do not think that I can do better than commence, at
least, by giving word for word the narrative of Wood in his own
language, to which I purpose to add such additional particulars in
the form of notes or otherwise, as I may be able to supply. But
the reader must not expect much that is new: for I regret to say
that, after the most careful researches, I have not improved, to
any large extent, the state of knowledge respecting this elegant
poet and unfortunate man.

"Richard Lovelace," writes Wood, "the eldest son of Sir William
Lovelace of Woollidge in Kent, knight, was born in that
country [in 1618], educated in grammar learning in
Charterhouse School near London, became a gent. commoner of
Gloucester Hall in the beginning of the year 1634, and in that
of his age sixteen, being then accounted the most amiable and
beautiful person that ever eye beheld; a person also of innate
modesty, virtue, and courtly deportment, which made him then, but
especially after, when he retired to the great city, much admired
and adored by the female sex. In 1636, when the king and queen
were for some days entertained at Oxon, he was, at the request of a
great lady belonging to the queen, made to the Archbishop of
Canterbury [Laud], then Chancellor of the University, actually
created, among other persons of quality, Master of Arts, though but
of two years' standing; at which time his conversation being made
public, and consequently his ingenuity and generous soul
discovered, he became as much admired by the male, as before by the
female, sex. After he had left the University, he retired in great
splendour to the court, and being taken into the favour of Lord
George Goring, afterwards Earl of Norwich, was by him adopted a
soldier, and sent in the quality of an ensign, in the Scotch
expedition, an. 1639. Afterwards, in the second expedition, he was
commissionated a captain in the same regiment, and in that time
wrote a tragedy called THE SOLDIER, but never acted, because the
stage was soon after suppressed. After the pacification of
Berwick, he retired to his native country, and took possession [of
his estate] at Lovelace Place, in the parish of Bethersden, at
Canterbury, Chart, Halden, &c., worth, at least, 500 per
annum. About which time he [being then on the commission of the
peace] was made choice of by the whole body of the county of Kent
at an assize, to deliver the Kentish petition to the House of
Commons, for the restoring the king to his rights, and for settling
the government, &c. For which piece of service he was committed
[April 30, 1642] to the Gatehouse at Westminster, where he
made that celebrated song called, STONE WALLS DO NOT A PRISON MAKE,
&c. After three or four months' [six or seven weeks'] imprisonment,
he had his liberty upon bail of 40,000 [4000?]
not to stir out of the lines of communication without a pass from
the speaker. During the time of this confinement to London,
he lived beyond the income of his estate, either to keep up
the credit and reputation of the king's cause by furnishing
men with horses and arms, or by relieving ingenious men in want,
whether scholars, musicians, soldiers, &c. Also, by furnishing
his two brothers, Colonel Franc. Lovelace, and Captain William
Lovelace (afterwards slain at Caermarthen) with men and
money for the king's cause, and his other brother, called Dudley
Posthumus Lovelace, with moneys for his maintenance in Holland,
to study tactics and fortification in that school of war. After
the rendition of Oxford garrison, in 1646, he formed a regiment
for the service of the French king, was colonel of it, and
wounded at Dunkirk; and in 1648, returning into England, he,
with Dudley Posthumus before mentioned, then a captain under him,
were both committed prisoners to Peter House, in London, where
he framed his poems for the press, entitled, LUCASTA: EPODES, ODES,
SONNETS, SONGS, &c., Lond. 1649, Oct. The reason why he gave that
title was because, some time before, he had made his amours to a
gentlewoman of great beauty and fortune, named Lucy Sacheverell,
whom he usually called LUX CASTA; but she, upon a stray report that
Lovelace was dead of his wound received at Dunkirk, soon after
married. He also wrote ARAMANTHA [Amarantha], A PASTORAL,
printed with LUCASTA. Afterwards a musical composition of two
parts was set to part of it by Henry Lawes, sometimes servant
to king Charles I., in his public and private music.

"After the murther of king Charles I. Lovelace was set at liberty,
and, having by that time consumed all his estate, grew
very melancholy (which brought him at length into a consumption),
became very poor in body and purse, was the object of charity,
went in ragged cloaths (whereas when he was in his glory he wore
cloth of gold and silver), and mostly lodged in obscure and dirty
places, more befitting the worst of beggars and poorest of
servants, &c. After his death his brother Dudley, before
mentioned, made a collection of his poetical papers, fitted them
for the press, and entitled them LUCASTA: POSTHUME POEMS, Lond.
1659, Oct., the second part, with his picture before
them. These are all the things that he hath extant; those
that were never published were his tragedy, called THE SOLDIER or
SOLDIERS, before mentioned; and his comedy, called THE
SCHOLAR, which he composed at sixteen years of age, when he
came first to Gloucester hall, acted with applause afterwards in
Salisbury Court. He died in a very mean lodging in Gunpowder
Alley, near Shoe Lane, and was buried at the west-end
of the church of S. Bride, alias Bridget, in London, near to the
body of his kinsman Will. Lovelace, of Gray's Inn, Esq., in sixteen
hundred fifty and eight, having before been accounted by all
those that well knew him to have been a person well versed in the
Greek and Latin poets, in music, whether practical or
theoretical, instrumental or vocal, and in other things befitting a
gentleman. Some of the said persons have also added, in my
hearing, that his common discourse was not only significant and
witty, but incomparably graceful, which drew respect from all men
and women. Many other things I could now say of him, relating
either to his most generous mind in his prosperity, or dejected
estate in his worst state of poverty, but for brevity's sake I
shall now pass them by. At the end of his Posthume Poems are
several elegies written on him by eminent poets of that time,
wherein you may see his just character."

Such is Wood's account; it is to be regretted that that writer
did not supply the additional information, which he tantalizes us
by saying that he possessed, and could have published, had he not
been afraid of being tedious. His love of brevity is, in this
case, most provoking.

As might be expected, the Journals of Parliament cast additional
light on the personal connexion of Lovelace with the Kentish
Petition of 1642, which was for the GENERAL redress of existing
grievances, not, as the editor of the VERNEY PAPERS seems to have
considered, merely for the adjustment of certain points relative to
the Militia. Parliamentary literature has not a very strong
fascination for the editors of old authors, and the biographers of
Lovelace have uniformly overlooked the mine of information which
lies in the LORDS' AND COMMONS' JOURNALS. The subject was
apparently introduced, for the first time, into Parliament on the
28th March, 1642, when a conference of both Houses took place,
respecting "a petition from Kent, which, praying for a Restoration
of the Bishops, Liturgy and Common Prayer, and other constitutional
measures, was voted seditious and against privilege and the peace
of the kingdom;" on the same occasion, Lord Bristol and Mr. Justice
Mallett were committed to the Tower for having in their possession
a copy of the document. On the 7th April it was ordered by both
Houses, that the Kentish Petition should be burned by the hands of
the common hangman.

On the 28th April, the Commons acquainted the Upper House,
by Mr. Oliver Cromwell, "that a great meeting was to be held
next day on Blackheath, to back the rejected Kentish

Two days later, a strange scene occurred at Westminster.
Let the Commons' Journals tell the story in their own language: -

"30 April, 1642. The House being informed that divers gentlemen
of the county of Kent were at the door, that desired to present
a petition to the House;

"They were called in, presented their Petition, and withdrew.

"And their Petition was read, and appeared to be the same
that was formerly burnt, by order of both Houses, by the hands
of the common hangman. Captain LEIGH reports that, being at
the Quarter Sessions held at MAIDSTONE, he observed certain
passages which he delivered in writing.

"Captain Lovelace, who presented the Petition, was called in;
and Mr. Speaker was commanded to ask him, from whose hand
he had this Petition, and who gave him warrant to present it.

"'Mr. GEO. CHUTE delivered him [he replied] the Petition the next
day after the Assizes.'

"'The gentlemen [he continued], that were assembled at BLACKHEATH,
commanded him to deliver it.'

"[The Speaker then inquired] whether he knew that the like was
burnt by the order of this House, and that some were here
questioned for the business.

"'He understood a general rumour, that some gentlemen were

"'He had heard a fortnight since, that the like Petition was burned
by the hand of the common hangman.

"'He knew nothing of the bundle of printed petitions.'

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